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Journal articles on the topic 'Landscape in art'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

Faison, Edward K. "Seeing the Landscape in Landscape Art." Arnoldia 73, no. 2 (2015): 2–18. http://dx.doi.org/10.5962/p.251219.

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2

Zhang, Yuanhang. "The Application of Earth Art in the Landscape Design of Public Space." Highlights in Art and Design 2, no. 1 (February 20, 2023): 49–53. http://dx.doi.org/10.54097/hiaad.v2i1.5324.

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The modern landscape design trend that emerged in the background of the times is a product of the continuous development of social politics, economy and As one of the more unusual ideas in modern landscape design, Earth Art was born in the wilderness in the early stages of its development and was subject to some limitations in terms of place and concept, but some of the ideas derived from its work for the earth. subject to some limitations in terms of place and concept, but some of the ideas derived from its work for the earthy landscape environment gradually took Earth art attempts to reclaim

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3

F. Nunes, Israel, and Lucia Maria S. A. Costa. "Paisagem Experimental:." Revista Prumo 4, no. 7 (November 15, 2019): 152–65. http://dx.doi.org/10.24168/revistaprumo.v4i7.1127.

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The links among public space, landscape, and contemporary art are the central theme of this paper. In shaping a landscape design essay for a public park on a silted waterfront in the city of Ilhéus - BA, Brazil, dynamic alter-natives are introduced for the renovation of the public space, based upon the diversification of common uses. The purpose is to build a connection between landscape and art through the re-signification of the natural and cultural processes of the specific site, which may promote a new collective sense of place. The work presents as its theoretical support studies that loo

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4

Muller, Stephanus. "Apartheid Aesthetics and Insignificant Art." Journal of Musicology 33, no. 1 (January 1, 2016): 45–69. http://dx.doi.org/10.1525/jm.2016.33.1.45.

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Stephanus Le Roux Marais (1896−1979) lived in Graaff-Reinet, South Africa, for nearly a quarter of a century. He taught music at the local secondary school, composed most of his extended output of Afrikaans art songs, and painted a number of small landscapes in the garden of his small house, nestled in the bend of the Sunday’s River. Marais’s music earned him a position of cultural significance in the decades of Afrikaner dominance of South Africa. His best-known songs (“Heimwee,” “Kom dans, Klaradyn,” and “Oktobermaand”) earned him the local appellation of “the Afrikaans Schubert” and were fa

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5

Benedict, Jessieca Joseph, Mohd Fazli Othman, Syed Zamzur Akasah Syed Ahmed Jalaluddin, and Rafeah Legino. "The Spirituality of Papar Landscape." Environment-Behaviour Proceedings Journal 7, SI9 (October 10, 2022): 75–79. http://dx.doi.org/10.21834/ebpj.v7isi9.3941.

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Art's function has allowed artists to express themselves for centuries. Art was once created solely for religious reasons, especially with the rise of the Catholic Church. The Industrial Revolution and the church's declining influence in the 19th century opened people's eyes to emotion and imagination, which Romanticists later portrayed artistically. This led to nature mysticism and landscape paintings. Similarly, St. Ignatius' Ignatian Spirituality corresponds to the divine yearning in nature. Spirituality and art can go hand in hand, say Jesuit priest-artists. Mystical landscapes reveal huma

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6

Balm, Roger, and Malcolm Andrews. "Landscape and Western Art." Geographical Review 90, no. 4 (October 2000): 649. http://dx.doi.org/10.2307/3250790.

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7

Crawford, Alistair. "Landscape photography as art." Landscape Research 17, no. 1 (March 1992): 2–8. http://dx.doi.org/10.1080/01426399208706351.

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8

Moignard, Elizabeth. "LANDSCAPE IN GREEK ART." Classical Review 53, no. 2 (October 2003): 452–54. http://dx.doi.org/10.1093/cr/53.2.452.

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9

Джанджугазова, Елена, and Elena Dzhandzhugazova. "Area of Russian landscape." Service & Tourism: Current Challenges 8, no. 1 (March 31, 2014): 83–88. http://dx.doi.org/10.12737/3411.

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The article considers evaluation of esthetic characteristics of landscape on the basis of the best examples of Russian landscape pictorial art. The author offers readers to analyse and evaluate landscape scenes representing story line of popular Polenov&#180;s landscapes.

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10

Lu, Sa. "The Ideological Foundations of Chinese Traditional Landscape Painting Art." Философия и культура, no. 10 (October 2022): 144–57. http://dx.doi.org/10.7256/2454-0757.2022.10.38818.

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The article analyzes the ideological foundations of the emergence and evolution of landscape in Chinese painting as an independent genre from the III to the XVIII century, before the rapid integration of Western European artistic traditions. Landscape painting is considered as an expression of the state of mind of Chinese artists, the prevailing philosophical ideas, in particular Taoism, the embodiment of literary images associated with the natural origin. Despite the attention of the scientific community to the development of images of nature in the art of ancient and modern China, there are

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11

ERDOĞAN, Reyhan, Yazar Adı Yazar Soyadı, Rıfat OLGUN, Oğuzhan ÖZÇATALBAŞ, and Faik ŞAVKLI. "PENJING IN THE CHINESE LANDSCAPE ART (MINIATURE LANDSCAPE)." INTERNATIONAL REFEREED JOURNAL OF DESIGN AND ARCHITECTURE, no. 5 (August 30, 2015): 98. http://dx.doi.org/10.17365/tmd.2015511329.

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12

Chen, Linze, Junhan Liu, and Yang Zhao. "Innovation and Development: An Analysis of Landscape Construction Factors in Quanzhou Maritime Silkroad Art Park." Sustainability 15, no. 4 (February 9, 2023): 3157. http://dx.doi.org/10.3390/su15043157.

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From the perspective of tourists, this paper takes Quanzhou Maritime Silkroad Art Park as the research object to study the botanical landscape factors concerned with tourists in the theme park. Through a questionnaire survey, and combined with interviews, the collected results were scientifically analysed using the data. According to the statistical results, the factors of plant landscape construction in the theme park concerned with tourists were summarised, extracted, and named, which were “plant landscape healing”, “plant landscape culture”, “plant landscape continuity”, “plant landscape sp

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13

Lipský, Zdeněk, and Dušan Romportl. "Landscape typology in Czechia and abroad: State of the art, methods and theoretical basis." Geografie 112, no. 1 (2007): 61–83. http://dx.doi.org/10.37040/geografie2007112010061.

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The main goal of this paper is to introduce the importance of landscape typology in present times when many landscapes are exposed to dynamic human impacts such as land use changes, urbanization, intensive agriculture, forestry or industrialization. Different approaches to landscape typology in Czechia and other European countries as well as relations of landscape typology to landscape character assessment and the European Landscape Convention are discussed. A requirement of a new exact and applicable landscape typology is a great challenge for Czech geographers.

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14

França, Ana Marcela. "Paisagem e natureza na arte contemporânea: ressignificação do espaço e experiência da obra." Revista Prumo 5, no. 8 (April 23, 2020): 110–21. http://dx.doi.org/10.24168/revistaprumo.v0i8.1245.

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This paper aims to discuss the installations made in the 1970s to the present day, which dialogue directly with the “natural” landscape, extending the significance of the artistic object to the reconfiguration of the space. In particular, works that have action in the biophysical space will be discussed, in which elements of the environment become devices of artistic manifestation. It will be seen that these performances transform the landscape and the notion of a work of art, creating tensions in what we understand as nature and culture.

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15

Наталія Дігтяр and Олександр Тарасенко. "COMPOSITION IN THE LANDSCAPE: ART AND PEDAGOGICAL ASPECT." Problems of Modern Teacher Training, no. 2(22) (October 1, 2021): 49–55. http://dx.doi.org/10.31499/2307-4914.2(22).2020.219394.

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The author emphasizes the importance of studying the landscape as a genre of fine arts by students. The laws and techniques of composition are the basis, the basis of writing works of all genres of painting that is why compositional competencies are the main place in the structure of art education. This is especially true of landscape composition.Creating a landscape involves drawing in the open air, outdoors. The work should start with finding the best location – landscaping locations. It is well known in an art practice that any composition begins with sketches. The same goes for landscape c

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16

Misni, Alamah Misni, and Anwar Suran. "AN INTEGRATED PUBLIC ART IN PUTRAJAYA URBAN LANDSCAPE." Built Environment Journal 15, no. 2 (July 30, 2018): 48. http://dx.doi.org/10.24191/bej.v15i2.9708.

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The art found in public space represents a local social and cultural situation, as well as the artistic and aesthetic tendencies. There is a close relationship between the public art and the city landscape. Public art is part of the broader visual environment of buildings, landscapes, and infrastructure. It can promote a sense of place, contribute to legibility or wayfinding, and support efforts to quality urban design. It can be in the form of sculpture, street furniture, mural, and even fountain structure. This research focuses on the user's perception and appreciation of integrated public a

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17

Milani (book author), Raffaele, Corrado Federici (book translator), and Elena C. Napolitano (review author). "The Art of the Landscape." Quaderni d'italianistica 30, no. 2 (June 1, 2009): 189–91. http://dx.doi.org/10.33137/q.i..v30i2.11925.

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18

Porshnev, V. P. "Landscape art in Ptolemy Egypt." Vestnik of Saint Petersburg State University of Culture, no. 2 (31) (June 2017): 26–29. http://dx.doi.org/10.30725/2619-0303-2017-2-26-29.

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19

Jorge Camacho, Cristina. "Land Art vs Landscape Architecture." Constelaciones. Revista de Arquitectura de la Universidad CEU San Pablo, no. 4 (May 1, 2016): 117–29. http://dx.doi.org/10.31921/constelaciones.n4a8.

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La descripción de los fenómenos atmosféricos según los grados de intensidad –vientos escala Beaufort 0, 1, 2,…– y su representación mediante diagramas sirven para medir futuras contribuciones energéticas y prevenir sequías e inundaciones a través de programas de simulación meteorológica como Real Flow o Flow Design en el entorno BIM. Como antecedente en el control de estos parámetros, determinados videos de obras de Land Art muestran cómo la acción del viento, la lluvia o los relámpagos potencian los efectos del tiempo sobre dichas obras como Air Art. Actualmente estas mediciones se utilizan e

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20

Haldane, John. "Transforming Nature: Art and Landscape." Art Book 10, no. 3 (June 2003): 10–12. http://dx.doi.org/10.1111/1467-8357.00342.

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21

Cartes, I. "Art in the urban landscape." Urban Design International 2, no. 4 (December 1, 1997): 189–98. http://dx.doi.org/10.1080/135753197350588.

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22

Crawford, Alistair, and Peter Howard. "Editorial: landscape, photography and art." Landscape Research 17, no. 1 (March 1992): 1. http://dx.doi.org/10.1080/01426399208706350.

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23

Sorvig, Kim. "The Art of Landscape Detail." Landscape and Urban Planning 49, no. 1-2 (May 2000): 87–88. http://dx.doi.org/10.1016/s0169-2046(00)00049-9.

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24

Cartes, I. "Art in the urban landscape." URBAN DESIGN International 2, no. 4 (December 1997): 189–98. http://dx.doi.org/10.1057/udi.1997.31.

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25

Merriman, Peter, and Catrin Webster. "Travel projects: landscape, art, movement." cultural geographies 16, no. 4 (October 2009): 525–35. http://dx.doi.org/10.1177/1474474009340120.

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26

Sanad, Reham, and Zainab Salim Aqil Alhadi Baomar. "A study of landscape painting development – Past, present and future perspectives." New Trends and Issues Proceedings on Humanities and Social Sciences 8, no. 1 (June 4, 2021): 01–11. http://dx.doi.org/10.18844/prosoc.v7i4.5774.

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This study is focused on landscape paintings’ characteristics throughout history. It starts with primitive cave paintings passed through the ancient civilisations, then followed by the main art movements and styles and ends with the contemporary style landscape paintings. Future prospects and expectations for landscape representations were also considered. It was found that landscape representation has been the focus for most artists because of its link to their normal lives. In the primitive caves, illustrations of plants and animals were found covering caves’ walls. Landscape backgrounds wer

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27

Hadjinicolaou, Yannis. "A raptor’s-eye view in the early modern Netherlands." Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek Online 73, no. 1 (November 7, 2023): 138–63. http://dx.doi.org/10.1163/22145966-07301007.

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Yannis Hadjinicolaou’s contribution focuses on Netherlandish landscape painting in the sixteenth and seventeenth centuries, a time when visual constructions of territory were often accomplished through the lens of falconry as a political tool. Depicting the falcon flying high above the territory transforms the natural landscape into a political one through substituting and extending the ruler’s sovereignty over it. A vertical perspective of power is allowed through the human-fabricated ‘bird’s-eye view’. This territorial aerial ‘view’ offers a political and privileged perspective over a vast,

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28

Shik, I. A. "Landscape in Leningrad Porcelain Art of the “Thaw” Period." Secreta Artis 6, no. 1 (September 20, 2023): 49–61. http://dx.doi.org/10.51236/2618-7140-2023-6-1-49-61.

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Landscape became one of the dominant genres of Leningrad porcelain art of the “Thaw” era, reflecting the peculiarities of Soviet culture in the second half of the 1950s – 1960s with its characteristic desire to explore new spaces, changes in the appearance of cities, as well as mass construction. Thus, it is not coincidental that such well-known Leningrad porcelain artists as Vladimir Gorodetsky, Nina Slavina, Antonina Semenova, Larisa Grigoryeva, Tamara Bezpalova-Mikhaleva, Lidia Lebedinskaya among others created landscape compositions. When interpreting landscapes in a “modern style”, they o

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29

Cao, Yulu, and Zonghan Li. "Research on Dynamic Simulation Technology of Urban 3D Art Landscape Based on VR-Platform." Mathematical Problems in Engineering 2022 (April 27, 2022): 1–9. http://dx.doi.org/10.1155/2022/3252040.

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With the rise of some concepts such as “Digital Earth” and “digital city,” how to realize the three-dimensional reconstruction and visualization of the urban art landscape is becoming a current research hotspot. This study takes the VR-Platform as the development platform and combines it with 3dsMax technology to study the dynamic simulation technology of urban 3D art landscapes. Additionally, this study combines the dynamic simulation technology of urban three-dimensional artistic landscape, designs the urban three-dimensional artistic landscape dynamic simulation system from the aspects of l

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30

Mulk, Inga-Maria, and Tim Bayliss-Smith. "Liminality, Rock Art and the Sami Sacred Landscape." Journal of Northern Studies 1, no. 1-2 (September 18, 2007): 95–122. http://dx.doi.org/10.36368/jns.v1i1-2.513.

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The paper suggests that cultural landscapes were permeated by religious meanings in all pre-modern societies, including Sami societies before c. AD 1600. We suggest that knowledge of this sacred landscape was not restricted to an elite or to shamans, but was widely shared. For the Sami, religious rituals and associated images (e.g. rock art) involved all levels within a social hierarchy that linked the individual adult or child, the family, the band or sijdda, and the association of family groups or vuobme. We can decode the sacred landscapes of such societies if we can reconstruct sites of pe

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31

Hoffos, David, and Margo Henry. "Art." Public 31, no. 62 (December 1, 2020): 240. http://dx.doi.org/10.1386/public_00053_5.

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The interview with curator and guest editor Wayne Baerwaldt and artist, Zachari Logan pertains to questions about the nature of Logan’s visual art practice in relation to gender, sexuality and intersecting issues of queer embodiment and landscape.

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32

Zhu, Bing. "The Evolution of Pop Art and Its Application to the Urban Landscape —— The example of the landscape design work of Martha Schwartz." SHS Web of Conferences 192 (2024): 01011. http://dx.doi.org/10.1051/shsconf/202419201011.

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Taking the development of Pop Art to Post Pop Art as a clue, the urban landscape has gradually given city dwellers different sensory experiences and begun to lead people’s lifestyles. Few people have collated the correlation between the evolution of Pop Art and the landscape design works of Martha Schwartz, and there is no systematic study of Pop Art landscape on urban development. Through the analysis of different design techniques in early Pop Art, New Pop Art and Post Pop Art, and the in-depth analysis of Martha Schwartz who is the representative figure of Pop Art landscape, the influence o

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33

Cohen, Matt. "Making the View from Lookout Mountain: Sectionalism and National Visual Culture." Prospects 25 (October 2000): 269–80. http://dx.doi.org/10.1017/s0361233300000661.

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Recent scholarship in the history of American art has uncovered the deep social, political, and economic context within which specific inividuals invented highly charged (and frequently contested) visions of the American landscape. Drawing attention away from the naturalizing tendency of criticism that emphasizes landscape painting as a reflection of national and transcendental ideals, this kind of analysis has brought new richness to the study of landscapes, weaving political and social history into the criticism of American art. Charting paintings as they function within the constellations o

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34

Balmori, Diana. "Cranbrook: The Invisible Landscape." Journal of the Society of Architectural Historians 53, no. 1 (March 1, 1994): 30–60. http://dx.doi.org/10.2307/990808.

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As a study of the landscape of the Cranbrook Academy of Art in Bloomfield Hills, Michigan, this essay has three objectives: to make visible a previously unacknowledged landscape, to define its relationship to the image of Cranbrook as a whole, and to begin an exploration of the ways in which a landscape draws us into a bond of affection with it. This study is the first to identify landscape designers at Cranbrook and to explore the importance of their design to the institution that was the most successful and long-lived of Arts and Crafts manifestations in America. It thus gives particular att

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35

Grusin, R. "Landscape Art and Landscape History: Some Recent Works on North American Landscape Painting." Forest & Conservation History 34, no. 2 (April 1, 1990): 83–84. http://dx.doi.org/10.2307/3983863.

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36

Liu, Mingxuan. "The Image of a City in Chinese Landscape Painting a Scientific Discourse in Chinese Historiography." Vìsnik Harkìvsʹkoi deržavnoi akademìi dizajnu ì mistectv 2022, no. 1 (January 15, 2022): 117–29. http://dx.doi.org/10.33625/visnik2022.01.117.

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The article analyzes the phenomenon of the urban landscape, which is a notable phenomenon in modern Chinese art history. In this direction, the researchers consider not only the genre originality of the urban landscape, but also artistic models of the representation of the city image in painting. The urban landscape acquires independent forms within the framework of Chinese art through comparative practices of matching and comparison with Western artistic genesis. Already in the early 2000s, Chinese art historians were actively looking for new models for presentation of traditional art. At the

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37

Akhmedova, Zaripat Abdullaevna. "GENRE OF LANDSCAPE IN THE WORK OF M. M. SHABANOV." Herald of the G. Tsadasa Institute of Language, Literature and Art, no. 26 (June 4, 2021): 94–100. http://dx.doi.org/10.31029/vestiyali26/14.

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The article deals with the genre of landscape in the work of the People's Artist Magomed Magomedovich Sha-banov. The author gives a brief art history analysis of many works of the landscape genre. Comes to the con-clusion that the artist's landscapes changed depending on the era, time of creation.

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38

Cheng, Yue, Jiayin Chen, Jiahua Li, Lin Li, Guanhua Hou, and Xuan Xiao. "Research on the Preference of Public Art Design in Urban Landscapes: Evidence from an Event-Related Potential Study." Land 12, no. 10 (October 7, 2023): 1883. http://dx.doi.org/10.3390/land12101883.

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As urbanization quickens, the role of public art in urban landscape design gains prominence. Nevertheless, how stylistic characteristics of landscape public art affect aesthetic preferences remains insufficiently discussed, particularly with objective assessment methods. The use of event-related potential (ERP) can offer neurophysiological evidence to support research and practice in landscape art design. We employed a 2 (artistic features) × 2 (professional proficiency) repeated-measures design, involving abstract and figurative experimental stimuli; both experts and non-experts participated,

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39

Wilkoszewska, Krystyna. "Landscape and the environment." Polish Journal of Landscape Studies 2, no. 4-5 (July 31, 2019): 5–12. http://dx.doi.org/10.14746/pls.2019.4.5.1.

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The paper analyzes the concept of landscape and its various embodiments in art and nature. On the one hand, one can claim that our understanding of the landscape is constituted by conceptual oppositions like human/non-human, artifactual/natural, culture/nature; on the other, one may notice that landscapes occur in the space “between” these oppositions. Furthering this observation, I lodge an objection to the approach of certain exponents of environmental aesthetics who opt for replacing the notion of landscape by that of environment because I would argue that the former is still informative.

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40

Panwar, Apeksha, and Archana Rani. "CONTEMPORARY LANDSCAPE IN TRADITIONAL GOND ART." International Journal of Research -GRANTHAALAYAH 9, no. 1 (February 2, 2021): 169–75. http://dx.doi.org/10.29121/granthaalayah.v9.i1.2021.3047.

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English: Indian Folk art mainly depicts social and cultural aspects of trible society. Gond Painting is developed by Gond Community which is a large trible community in India and hence named after the same. “This art is quite famous in central India. Traditionally Gond Art were painted on walls and floors during weddings and on auspicious occasions. With time the art witnessed developments and now it is seen on textile, canvas, clothes, articles and valuable artifacts. Last decade witnessed a boom in the popularity of Gond Art. Jangan Singh Shyam who is called the father of Gond Art is o

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41

Krog, Steven R. "ART AND THE LANDSCAPE: A SYMPOSIUM." Landscape Journal 12, no. 1 (1993): 85–87. http://dx.doi.org/10.3368/lj.12.1.85.

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42

McGirr, Patricia. "BETWEEN LANDSCAPE ARCHITECTURE AND LAND ART." Landscape Journal 16, no. 1 (1997): 121–22. http://dx.doi.org/10.3368/lj.16.1.121.

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43

Grezl, Karel, and John Cameron Rodger. "Landscape Reclamation: Science, Art or Business?" International Journal of Science in Society 1, no. 1 (2009): 13–30. http://dx.doi.org/10.18848/1836-6236/cgp/v01i01/51234.

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44

Tyutyunnik, Yulian G. "ART LANDSCAPE SCIENCE IN GEOGRAPHICAL DESCRIPTION." Географический вестник = Geographical bulletin, no. 3(58) (2021): 6–20. http://dx.doi.org/10.17072/2079-7877-2021-3-6-20.

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The paper deals with the history, current state and prospects of using the descriptive method in geographical science. We identify the goals, classify the methods, analyze the conditions of the application of literary techniques in geographical description; the transformations of these techniques, both occurring today and possible in the future, are also analyzed. The subject of geographical description is characterized, its distinctive features are specified. Based on the ideas of Gilles Deleuze, we offer a classification of the methods of obtaining geographical images using the techniques of

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45

Lally, Róisín. "Digital Art: The New Cultural Landscape." Heidegger Circle Proceedings 51 (2017): 166–78. http://dx.doi.org/10.5840/heideggercircle20175113.

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46

Seglie, Dario. "Prehistoric art: meta-language and landscape." Annales d'Université "Valahia" Târgovişte. Section d'Archéologie et d'Histoire 12, no. 2 (2010): 109–16. http://dx.doi.org/10.3406/valah.2010.1068.

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47

Berleant, Arnold. "The Art in Knowing a Landscape." Diogenes 59, no. 1-2 (February 2012): 52–62. http://dx.doi.org/10.1177/0392192112469320.

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48

Howard, Peter. "Landscape and the art referent system." Landscape Research 17, no. 1 (March 1992): 28–33. http://dx.doi.org/10.1080/01426399208706354.

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49

Harrison, Charles. "Art & Language Paints a Landscape." Critical Inquiry 21, no. 3 (April 1995): 611–39. http://dx.doi.org/10.1086/448766.

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50

Hirsch, Eric. "Landscape as Art and as Persons." Roczniki Kulturoznawcze 13, no. 4 (December 31, 2022): 93–98. http://dx.doi.org/10.18290/rkult22134.13.

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The presented statement is part of the volume it covers a variety of responses from people who interact with art in different ways. The aim is to suggest to the participant of the contemporary world a new, personal perspective to rethink what is this area of our world that we label with art; thoughts with and without theoretical suggestions - reflections by the creators and reflections by the audience, teaching humility and uniqueness, perhaps - forming a fresh perspective on art.

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